You could be forgiven for forgetting The Paper’s existence, as Season 2’s lackluster marketing push has failed to ignite a social media storm. Not helped by the debut season’s unmemorable but mildly positive reception which ultimately failed to stand out in a spectacular period for television comedies. The series is shadowed by the likes of FX’s Adults, and the continued online love for Abbott Elementary – hilarious chaos targeting the same audience, with more of a punch. While Season 1 of The Paper followed Domhnall Gleeson’s (About Time) Ned arriving as Editor-in-Chief, turning the clickbait site into award winning journalism, Season 2 continues merely moments after these events. Making specific notes to relish in the remaining success, and hoping to shake off any lingering growing pains.
Alongside the Toledo Truth Teller’s award sweep was the inevitable ‘will they, won’t they?’ kiss between Ned and Mare (Chelsea Frei), and on the opposite axis was the situationship breakup between Nicole (Ramona) and Detrick (Melvin Gregg), arguably the more intriguing relationship of the two, given the willingness to explore new territory rather than replay familiar Jim and Pam style beats. Now, The Paper faces a new challenge, recapture the charm of Dunder Mifflin without flying too close to the Scranton based sun. Instead poised to deliver something fresh and learn from past criticisms… but does it do enough?
Unfortunately, The Paper returns bearing similar patterns of shticks, jokes and narrative arcs. The relationship between Ned and Mare, again, has no real weight or tangibility, and is kept a secret from the Toledo Truth Teller staff with minimal friction. Any lingering drama is either quickly resolved, or frankly, is overindulgent, possessing slightly too much screentime, even if satisfactory enough in achieving the intended purpose. Audiences are given little to chew on, or spit out from belly aching laughter. And the trope-y conflicts can’t distinguish The Paper from countless other streaming comedies, lacking an identity that finds the series lost in a sea of quality television. None of this means The Paper is terrible, but it is totally fine. Every episode passes possessing a couple of laughs, perhaps a shoulder chuckle at best, but never holds a candle to the brilliance of Michael Scott.
Each joke lands unadventurous and safe, rarely played with an edgier angle to invoke laughter. Frustratingly, any rare moments of zip stand out as the series’ best work, leaving the shying away from such energy disappointing, a crime Season 1 was guilty of too. A glimmer of magic in this disappointment arrives via the hilarious addition of Lisa Gilroy (Jury Duty) in her guest star role as the Toledo office’s HR representative. She is a raucous and occasionally horny beast unable to read the room – a total misfit for her role who crosses all imaginable lines. Awkwardly, Gilroy’s comedic instincts are so excellent she often outshines her scene partner, highlighting The Paper’s lack of personality filled characters further. She gracefully mimics the outspoken mischievousness of Tim Key’s (The Ballad of Wallis Island) Ken Davies, a highlight of Season 1 whose presence is disappointingly limited here, but individually saves Season 2 from blandness.
The Paper’s ‘story of the week’ approach works when the antics are chaotic enough to distract from missing narrative beats. But oftentimes, the series feels more like actual work than a mockumentary about work. Episodes are sluggishly paced, cold opens aren’t nearly as delightful this time around, and characters feel less individualistic than past, each blending into one another. But, don’t interpret this as a critique of performances within The Paper, as ultimately, the script’s material sticks out like a sore thumb. When The Paper should lean into risk, it shies away. When it should continue a gag, it moves onto quirky one liner reeking of ‘millennial core’. And the episodic storyline fails to acknowledge the wholly uninteresting journey our characters face, working far better in the latter half when a continuous plot forms – a similar criticism for Season 1! The concept of an overarching mission is largely abandoned and never truly replaced, thus leaving these weekly stories feeling empty and random.
Whilst not inherently unfunny, nor cringe-inducing, all the wrong lessons were learned from Season 1, and The Paper continuously demonstrates it lacks the special sauce that makes comedies click. Sure, there are moments warranting a chuckle or snort, but it never comes close to matching the heights of its predecessor, The Office, which even in its teething stages contained moments of hilarity. The Paper Season 2 arrives just fine (with a shrug). Rescued by an amusing cast that milks the underwhelming material written, and showcases enough chemistry to consider clicking ‘next episode’ – even with the tiresome romantic tropes. Totally inoffensive and almost over-sanitised, each joke always feels one more line away from excellence – that’s just being a Truth Teller.
